Mark Scheme (Results) June 2015 Pearson Edexcel GCE in Music (6MU06/01) Paper 1: Further Musical Understanding
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General Marking Guidance All candidates must receive the same treatment. Examiners must mark the first candidate in exactly the same way as they mark the last. Mark schemes should be applied positively. Candidates must be rewarded for what they have shown they can do rather than penalised for omissions. Examiners should mark according to the mark scheme not according to their perception of where the grade boundaries may lie. There is no ceiling on achievement. All marks on the mark scheme should be used appropriately. All the marks on the mark scheme are designed to be awarded. Examiners should always award full marks if deserved, i.e. if the answer matches the mark scheme. Examiners should also be prepared to award zero marks if the candidate s response is not worthy of credit according to the mark scheme. Where some judgement is required, mark schemes will provide the principles by which marks will be awarded and exemplification may be limited. When examiners are in doubt regarding the application of the mark scheme to a candidate s response, the team leader must be consulted. Crossed out work should be marked UNLESS the candidate has replaced it with an alternative response.
General Instructions for marking Unit 6 1) Bracketed words or phrases are not essential for the mark to be awarded. 2) Underlined words or phrases must be included for the mark to be awarded. 3) In questions 3 and 4, the scheme gives details of basic points and illustrated points. A point without example indicates that at the most a basic point will be awarded. A point with illustration indicates that a fully illustrated point can be awarded if an appropriate example is included. This illustration may not be the same as the one given in the scheme, and so NAM should be consulted in such instances. If no example is given, the candidate is awarded a basic point. The total of illustrated and unillustrated points is the one matched with the grid. 4) After marking each part of Q. 3 and 4, the total of illustrated and unillustrated points is matched with the grid. If you are uncertain as to which mark within that range to award, ascertain which of the neighbouring bands more closely matches the quality of the work marked. If it appears that the work is not far removed from the requirements for the adjacent higher band, then award a higher mark in the original range. If it appears closer to the adjacent band below, then award a lower mark within the original range. 5) In both options for Q. 4, a maximum mark for each work is allowed to ensure that the treatment of the prescribed works is reasonably balanced. The maximum score awarded per work is 8 illustrated points, or combination of 8 illustrated and unillustrated points. In other words, when candidates make fewer than 8 illustrated points, any unillustrated points made are added, up to a total of 8, e.g. 5 illustrated + 3 unillustrated. This total is then matched against the Mark-Descriptor grid, e.g. if a candidate makes 12 illustrated + 6 unillustrated points, the final mark will fall in the 24-27 band, i.e. 17 or more points with limited examples. In other words, the total of illustrated and unillustrated points is the one matched with the grid.
Some questions must be answered with a cross in a box (). If you change your mind about an answer, put a line through the box () and then mark your new answer with a cross (). 1. Comparison Part A: AURAL ANALYSIS Answer both questions The following questions require you to compare and contrast two excerpts of music. The excerpts are taken from different works by the same composer. You will hear each excerpt three times in the order A, B: A, B: A, B. The playings will be separated by pauses and the length of each pause will be announced. (a) Name the two instruments used at the start of Excerpt A. Flute (1) Clarinet (1) (2) (b) Name two performance techniques used by the violinist in Excerpt B but not in Excerpt A. Pizzicato/pizz./plucked/strummed) (1) (do not accept Staccato Double/triple/multiple stopping (1) Glissando/gliss./portamento/port./slides/pitch bends (1) Sul la/sul a (1) Sul tasto (1) (Max. 2)
(c) Compare and contrast rhythm and melody in the two excerpts. [Exclude remarks on texture.] *If an exact, opposite comparison is made, award only one mark. E.g. If candidate writes Excerpt A is in not strict time award 1 mark, but do not award a further mark if the candidate then writes Excerpt B is in strict time. EXCERPT A Rubato/not strict time/not strict OR tempo (1)* Long/sustained notes (1) Triplets (1) Opens with leap(s)/disjunct (1) 5 th s (1) Followed by conjunct (1) Falling then rising (1) Repeated/recurrent motif(s) (1) EXCERPT B Strict time/strict tempo (1)* Regular/repeated/on-beat rhythms (1) Accents/stresses (1) Dotted/swung rhythms (1) Two-note slurrings (1) Conjunct (1) Less chromatic than B (1)* OR More chromatic than A (1)* Blue notes (1) Rapid notes/glissando/broken chords in harp (1) Syncopation/off-beat (1) (Max. 4) (d) Put a cross in the box next to the time-span during which these excerpts were composed. B 1905-1930 (1) (e) Put a cross in the box next to the name of the composer of these excerpts. C Ravel (1) (Total for Question 1 = 10 marks)
2. AURAL AWARENESS You will hear an excerpt of music five times. The playings will be separated by pauses and the length of each pause will be announced. In order to answer the questions you should also have the separate skeleton score. (a) Write out the melody line of bars 8 to 10 (beat 1). You may work in rough on the skeleton score, but you must copy your answer onto the stave below. There are 10 pitches and 10 durations to complete. 0 No work offered capable of assessment 1 1-2 pitches and/or note-lengths correct 2 3-4 pitches and/or note-lengths correct 3 5-7 pitches and/or note-lengths correct 4 8-10 pitches and/or note-lengths correct 5 11-13 pitches and note-lengths correct 6 14-16 pitches and note-lengths correct 7 17-18 pitches and note-lengths correct 8 19-20 pitches and note-lengths correct [Max. 8] (b) Identify the following: (i) Key in bar 6: E flat (major)/relative major (1) Cadence in bar 6: Imperfect/half-close (1) (ii) Dissonance in bar 25: Suspension/retardation (1) Accept also (upward) appoggiatura (iii) Key in bar 34: C (major)/tonic major (1) Cadence in bar 34: Perfect (1) (5)
(c) Identify the chords indicated in bar 15 Chord A: Dominant/V/Va/G major (1) (do not accept V 7 /Vb/Vc) Chord B: Augmented 6 th /Italian 6 th (1) (2) (d) Put a cross in the box next to the name of the composer of this music. A Beethoven (1) (e) work. Put a cross in the box next to the date of the composition of this C 1805 (1) (f) Put a cross in the box next to the type of work from which this excerpt is taken. C Opera (1) (Total for Question 2 = 18 marks) TOTAL FOR PART A = 28 MARKS
PART B: MUSIC IN CONTEXT Question 3 has three parts, (a), (b) and (c). Answer only TWO parts. 3 (a) Explain how the Sinfonia in Stravinsky s Pulcinella is a fusion of eighteenth- and twentieth-century musical styles. Where appropriate, points should be illustrated with examples from the music. Basic Point Neoclassical Illustration (Trio sonata) by Gallo/Pergolesi Typical 18 th century instrumentation Cello and double bass doubled Omits harpsichord/continuo Baroque-like concerto grosso groupings The Sinfonia is a reworking of an 18 th century piece Strings with small wind section/oboes, bassoons and horns e.g. The solo string section/quintet Modern instrumental writing High bassoon writing (bars 7-13) Complex horn part (bar 33) Double and triple-stopped string parts (bar 3) Independence of wind writing (bar 33) [Max. 2] Baroque structure Ritornello (theme) Bars 1 or 16 or 35 Rounded binary form Bars 1-15 then 15-44 Modulations to related keys Any bar between 5-21: D major Bar 22: A major Bar 23: B minor Bar 29: E minor Bar 32: G major [Max. 2] Harmony as original/functional/root and 1 st inversion chords/perfect cadences Harmony subjected to 20 th c. updating / e.g. Added ninth in bar 3 wrong note harmony/dissonance Bass-lines and cadences are weakened Bars 43-44 Rhythms are disrupted/changing time Inserted triple time bar at bar
signatures 11 Syncopation Eg. Bar 1 Stressing of/accented off-beats Bar 10 Sequences Bars 7-9 Ornamentation/trills Eg. Bars 7-9 Periodic/balanced phrasing Bars 1-2 Inserted additional bar disrupting periodic Bar 18 phrasing Detailed performance indications (Articulation, expression, bowing) Bar 21 Bowing markings Bar 31 expression [Max. 2] Circle of 5ths Bars 7-9 or 24-26 Suspensions Bars 7-9 (solo cello) (13)
3 (b) Gabrieli s Sonata pian e forte was composed in Venice in the final years of the sixteenth century. Describe features of this work that are typical its time. Where appropriate, points should be illustrated with examples from the music. Basic Point Illustration St. Mark s (Venice) New style introduction of dynamics Division of forces into two Probably in separate galleries groups/cori Spezzati/Polychoral (Period/early) instrumentation Any one of : Cornett (Viola-like) old violin Trombones (sackbuts) Mixing of forces/instrumental sections Vocal style/instrumentally Narrow melodic range unidiomatic writing No continuo Limited variety of note-lengths Though with shorter notes in final stages Conjunct melodies Any one of : Octave leaps Fourth leaps Fifth leaps Syncopation e.g Bar 23 Root position and first inversion chords (Occasional) consonant 4 th Bar 54 Suspensions e.g Bar 4 (7-6), Bars 11-12 (4-3) Circle of 5ths Bar 36-41 Max. 2 of different cadences: Perfect cadence Bars 13-14 VIIb-I cadence Bar 4 Imperfect (Phrygian) cadence Bars 16-17 Plagal cadence Bars 79-80 II-I cadence Bars 47-48 Tierce de Picardie e.g Bar 80 Modal Dorian on G Mixolydian bar 26 [Max. 2] Cadences on different degrees (of e.g. F at bar 21, C at bar 31 mode) Antiphonal texture Bars 37-40 (Free) counterpoint/polyphonic Bars 1-4
Imitation Bars 71-77 Homophony Bar 59 (8-part) tutti Bars 67-80 Through-composed Sectional divisions at bars: 14 26 31 37 44 55 62 [Max. 2] (13)
3 (c) What features of Purcell s Thy hand, Belinda and When I am laid in earth are typical of Baroque music? Where appropriate, points should be illustrated with examples from the music. Basic Point Recitative and aria Illustration Instrumentation of continuo and string orchestra Figured bass Chromatic inflections in melody Recit Bar 2 Major-minor shifts Recit Bars 2-3 (Aria) uses ground bass 5 bars in length (Slow) triple time Chromatic Descent from tonic to dominant [Max. 2] Imitative entries Bar 46 Hemiola Bars 14-15 Scotch snaps/lombardic rhythms Recit Bar 8 Anticipations Bar 45 (Some) expressive melismas Recit Bar 2 Melody phrase structure overlaps (Credit for valid location) bass Suspensions 4-3 at bar 47 7-6 at Recit bar 4 9-8 at Recit bar 4 Or credit accurate description of pitches with bar reference [Max. 2] Perfect cadences Bar 55-56 Phrygian cadence Recit Bar 4-5 False relation Bar 33 Interval of tritone/diminished 5 th Bar 12 (Expressive melodic) Recit Bar 7 appoggiatura/dissonance Recit begins and ends in different Starts C minor ends G minor keys Single key for aria G minor/single mood/affekt (13)
Mark Descriptor 0 No positive features can be clearly identified. 1 Poor. Typically 1-2 relevant points with no examples. QWC: The writing may have some coherence and will be generally comprehensible, but lack both clarity and organisation. The skills needed to produce effective writing will not normally be present. Frequent syntactical and/or spelling errors are likely to be present. 2-3 Limited. Typically 1-2 illustrated points. QWC: The writing may show elements of coherence but there are likely to be passages which lack clarity and proper organisation. Range of skills needed to produce effective writing is likely to be limited. Frequent syntactical and/or spelling errors are likely to be present. 4-5 Basic. Typically 3-4 relevant points with limited illustration. QWC: The writing may show elements of coherence but there are likely to be passages which lack clarity and proper organisation. Range of skills needed to produce effective writing is likely to be limited. Frequent syntactical and/or spelling errors are likely to be present. 6 Adequate. Typically 3-4 relevant, illustrated points, or 5-6 relevant points with limited illustration. QWC: The writing may show some degree of organisation and clarity but this will not be sustained throughout the response. The candidate will demonstrate most of the skills needed to produce effective writing but there will be lapses in organisation. Some syntactical and/or spelling errors are likely to be present. 7-8 Competent. Typically 5-6 relevant, illustrated points, or 7-8 relevant points with limited illustration. QWC: The skills needed to produce convincing writing mostly in place. Good organisation and clarity. Some syntatical and/or spelling errors may be found, but overall the writing will be coherent. 9-10 Confident. Typically 7-8 relevant, illustrated points, or 9 or more relevant points with limited illustration. QWC: The skills needed to produce convincing writing are mostly in place. Good organisation and clarity. Some syntactical and/or spelling errors may be found, but overall the writing will be coherent. 11-12 Excellent. Typically 9 or more relevant points with most of them appropriately illustrated.
QWC: Very few syntactical and/or spelling errors will be present, and these will not detract from the overall coherence. Excellent organisation and planning. All the skills required to produce convincing writing will be in place. 13 Outstanding. Typically more than 9 relevant, well illustrated points. QWC: Very few syntactical and/or spelling errors will be present, and these will not detract from the overall coherence. Excellent organisation and planning. All the skills required to produce convincing writing will be in place. (Total for Question 3 = 26 marks) TOTAL FOR PART B = 26 MARKS
PART C: CONTINUITY AND CHANGE IN INSTRUMENTAL MUSIC Answer either (a) or (b) of Question 4. Your answer must be in continuous prose. Clarity of expression, spelling and grammar will be taken into account. EITHER 4 (a) Compare and contrast the use of rhythm (including metre) and texture in the three works listed below: Beethoven, Septet in E flat, Op. 20: movement I West End Blues, as recorded by Louis Armstrong and his Hot Five Cage, Sonatas I-III for Prepared Piano Maximum 8 illustrated points per composer (See general instructions Nos 4 and 5 on page 4) Basic Point Beethoven Rhythm and metre Change of metre Illustration Triple-time introduction followed by duple-time section (Do not accept 3/4 and 2/2) Whole bars (dotted minims) to demisemiquavers e.g Bar 14 In slow section wide range of note lengths Sextuplets Or Triplets e.g Bar 76 Quaver movement e.g Bar 19 Anacrusis/upbeat (of 3 quavers in Bar 18 Allegro) Syncopation e.g Bar 29 (violin and viola) Diminution Bar 285 Texture Homophony/homorhythmic/chordal e.g Bar 1 Monophony e.g Bar 2 Melody-dominated homophony/ Bar 18 melody and accompaniment Dialogue/antiphonal e.g Bars 47-49 Imitation Bars 258-264 Pedal point e.g Bar 98 Octaves e.g Bar 111 Parallel 6 th s e.g Bar 140 Broken chord accompaniment e.g Bar 29 West End Blues Rhythm and metre Quadruple time (Do not accept 4/4 or common time) Time signature change to triple time Bar 66
Free rhythm Introduction (bars 1-6) or 63-end Max. 1 Syncopation e.g Bar 9 Triplets/sextuplets e.g Bar 2 Dotted rhythms/swung e.g Bar 8 Anacrusis/upbeat/pick-up e.g Bar 6 / head Scotch snaps/lombardic rhythms Bar 9 (Steady) crotchets accompaniment / Bar 7 comping Demisemiquavers in piano solo Bar 43 Long held note Bar 55 Texture Monophonic Opening/bars 1-6 (Mainly) melody-dominated e.g Bar 19 homophony/ melody and accompaniment Sections scored for different e.g Compare bar 7 and bar 19 combinations of players Call and response/antiphony Bar 30 onwards Stride accompaniment Bar 43 Cage Rhythm and metre Fractal/micro-macrocosmic scheme Sonata I proportions applied to 28 crotchets Sonata II proportions applied to 31 crotchets Sonata III proportions applied to 34 crotchets Small-scale rhythmic durations determine the overall proportions of the structure 4 1 3 (repeated), 4 2 (repeated) [Award basic if no reference made to left hand column] 1½ + 1½ + 2⅜ + 2⅜ [Award basic if no reference made to left hand column] 1 + 1 + 3¼ + 3¼ [Award basic if no reference made to left hand column] These structures are inaudible Off-beat/syncopation Sonata II bar 4 Triplets/sextuplets Sonata I bar 8 Other irregular note groupings e.g. Quintuplet in sonata I bar 17 Rhythmic displacements of short Sonata II, bars 2-3 patterns III makes use of a more regular pulse Bars 1-4 Frequent changes of time signature e.g II, bars 10-12 Irregular time signature e.g III, bar 29 Rests/silence e.g bar 9 Texture Homophony/chords Sonata I, bar 1 Monophony II, bar 1
2-part homorhythm II, bar 10 Piano preparation modifies aural perception of texture Ostinato II, bar 17 Pedal II, bars 28-30 (36)
OR (b) Compare and contrast harmony and tonality in the three works listed below: Corelli, Trio Sonata in D, Op. 3, No. 2: movement IV Haydn, String Quartet in E flat, Op. 33 No. 2: movement IV Tippett, Concerto for Double String Orchestra, movement I Maximum 8 illustrated points per composer (See general instructions Nos 4 and 5 on page 4) Basic Point Illustration Corelli Harmony Functional harmony/tonality Root and 1 st inversion chords Perfect cadences Bars 42-43 (Inverted) tonic pedal Bars 15-17 Suspensions E.g 9-8 bar 41 7-6 bar 28 4-3 bar 31 double suspension 9-8 7-6 bar 29 Or credit accurate description of pitches with bar reference [Max. 2] Seventh chords Bar 34 Tonality Modulates to related keys Eg. Bar 19 Dominant/A Bar 26 B minor Bar 28 E minor Circle of fifths progression Bars 32-35 or A major, D major, G major bar 32, 33, 34 Haydn Harmony Functional harmony/tonality Perfect cadences Bars 7-8 Dominant pedal Bars 16-28 Tonic pedal Bars 107-111 Dominant preparation Bars 22-28 Dominant ninth/v 9 Bars 148-9 Unresolved second inversion chords Bars 41-47 Ic 6/4 Harmonic rhythm speeds up at cadences
Diminished chord Bar 69 Harmonic sequence Bars 59-61 Tonality Infrequent modulations Bar 36 A flat major Bar 48 F minor Tippett Harmony Non-functional harmony/tonality Modal (at times) Mixolydian/Lydian/Aeolian Occasional traces of pentatonicism Opening Some cadential progressions e.g. Phrygian at bar 21 Dissonance/Pandiatonicism Bar 85 False relations Bar 51 (F sharp/natural) Augmented triad/whole-tone Bar 118 Thirdless chord/bare 5 th /open 5 th Bar 232 Final extended modal cadence Bar 228 involving flat 7 tonic Tonality Quickly changing unrelated chords give sense of tonal flux. 1-20 Tonal centre A 21-38 Moving through C Lydian 39-67 Tonal centre G 68 Tonal centre E 80 Tonal centre C# (minor) 86 C# major 91 F minor 93 B flat minor 107 A flat major 119 Non-tonal 129-146 Tonal centre on A 165-193 Tonal centre on A (36)
Mark Descriptor 0 No positive features can be clearly identified. 1-5 Poor. Typically 1-4 points but no examples. QWC: The writing may have some coherence and will be generally comprehensible, but lack both clarity and organisation. The skills needed to produce effective writing will not normally be present. Frequent syntactical and/or spelling errors are likely to be present. 6-10 Limited. Typically 1-4 appropriately illustrated points QWC: The writing may show elements of coherence but there are likely to be passages which lack clarity and proper organisation. Range of skills needed to produce effective writing is likely to be limited. Frequent syntactical and/or spelling errors are likely to be present. 11-15 Basic. Typically 5-8 points with limited illustration. QWC: The writing may show elements of coherence but there are likely to be passages which lack clarity and proper organisation. Range of skills needed to produce effective writing is likely to be limited. Frequent syntactical and/or spelling errors are likely to be present. 16-19 Adequate. Typically 5-8 appropriately illustrated points, or 9-12 points with limited examples. QWC: The writing may show some degree of organisation and clarity but this will not be sustained throughout the response. The candidate will demonstrate most of the skills needed to produce effective writing but there will be lapses in organisation. Some syntactical and/or spelling errors are likely to be present. 20-23 Competent. Typically 9-12 appropriately illustrated points, or 13-16 points with limited examples. QWC: The skills needed to produce convincing writing are mostly in place. Good organisation and clarity. Some syntactical and/or spelling errors may be found, but overall the writing will be coherent. 24-27 Confident. Typically 13-16 appropriately illustrated points, or 17 or more points with limited examples. QWC: The skills needed to produce convincing writing are mostly in place. Good organisation and clarity. Some syntactical and/or spelling errors may be found, but overall the writing will be coherent.
28-31 Excellent. Typically 17 or more relevant points with most of them appropriately illustrated. QWC: Very few syntactical and/or spelling errors will be present, and these will not detract from the overall coherence. Excellent organisation and planning. All the skills required to produce convincing writing will be in place. 32-36 Outstanding. Typically 18 or more well illustrated points. QWC: Very few syntactical and/or spelling errors will be present, and these will not detract from the overall coherence. Excellent organisation and planning. All the skills required to produce convincing writing will be in place. (Total for Question 4 = 36 marks) TOTAL FOR PART C = 36 MARKS TOTAL FOR PAPER = 90 MARKS
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